Medien Wiki - User contributions [en]

EKK:LoFi Sounds in HiFi Spaces/Convergence

2013-05-06T18:23:41Z

RWelsh:

===Idea===

Separate sound streams from San Diego and Weimar: a collection of sounds or motifs that are being manipulated or improvised on (natural, mechanized... sounds) >> mixtures and or dialogue.

Movement within this (scenic?) installation is being tracked and controls the convergence / divergence of sounds creating new sonic structures (> convolution). Simutaenously controlling light, which guides through space, giving directions or hints on upcoming sonic events (rules and changes).

Light and sound play with expectations: creating tension in ambiguous virtual spaces between seeing and hearing, rather than visualizing / sonifying each other. Rules of dramatization / interaction change in time, shaped by the visitors actions.

Possible other elements: temperature (> light colors), corporeal hearing, scent (e.g. eucalyptus).

===Experiential Description===

Upon entering the room, a quiet din can be heard. These sounds are almost undefinable, owing to the nature of their material, their quiet volume and density. Four squares of light can be seen on the ground, in four colors. A participant who passes through one of the shafts of light triggers the play back of a sound, (either natural or mechanical, originating from Weimar or San Diego). The participant's trajectory is then followed, affecting the queued sample. The direction and speed of their motion toward another square of light determines the amount of convolusion, and which sample is selected as the multiplier. The original square of light begins to change color in reflection of the convolusion applied to "its" attributed sample. As the participant moves around the room, the samples, represented by the squares of light and color, are convolved with the previously triggered sound. The squares of light reflect the sonic mixing of characteristics through the alteration of their color and perhaps their lighting level. If a participant stops moving altogether or leaves, the sonic environment slowly returns to the neutral din of sound.

It is unclear at this moment how multiple participants can be accommodated, both experientially and to prevent an explosion of material and processing.

It is also unclear is speed should be the controller for the amount of convolusion, or if it should be a strict locational measure. If the project is pursued as an installation, I think a more specific, location-based convolusion would better instigate participation. However, if performative, speed would be a more interesting paramater to use, as it would be more subtle and naturally controlled through dance and movement.

Perhaps the din at the outset could be a quadraphonic layer of the two kinds of sounds, with mechanical sound layer coming from below and a natural sound layer hovering above. The triggered sounds could seem to float between the two, or perhaps the triggered sound could emerge from the respective layer, subtracting the indicated sound from the texture. Once all four zones have been triggered, the din would be completely absorbed by the "triggered" sounds. As stasis returns, the sounds float back to their respective layer, or perhaps the sounds would return to the wrong layer, ending the piece with Weimar sounds together and San Diego sounds together.

Additionally, we could play with different kinds of opposing sounds. One thought would be one of language - convolving english and german speech or perhaps speaking and singing - Or even pop songs or live feeds of spaces producing unique ambient sounds.

===Technical Requirements===

* Kinect controller x2 to produce a 3D understanding of motion and speed
* LED lighting units with color variance
* surround sound set-up (quadrophonic?)

===Participants===

anybody feel welcome!

* [[../Alice/]]
* [[../Ryan Welsh/]]

===Links===

* Maryanne Amacher: [https://www.youtube.com/watch?v=_MahrtRVhkA Headrhythm & Plaything] > otoacoustic emissions.
* Jaroslaw Kapuscinski: [http://www.jaroslawkapuscinski.com/work.html works: seeing-hearing]
* Georg Klein: [https://vimeo.com/26581215# TRASA warszawa-berlin]
* Kaffe Matthews: [https://vimeo.com/26954210 Music for Bodies]
* Randy H. Yau, Scott Arford: [https://www.youtube.com/watch?v=EdfrRMXBRWM Infrasonics live in Paris]

===Literature===

* Caclin, Anne et al.: [http://link.springer.com/article/10.3758/BF03194730#page-1 Tactile "capture" of audition]
* Hope, Cat: [http://mass.nomad.net.au/wp-content/uploads/cade/CADEproceedings/CADE/CADE%20Papers.pdf/HOPE.pdf Silence As Stillness? Sonic Experiences in Art using Infrasonics]
* Ouzounian, Gascia: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Embodied Sound: Aural Architectures and the Body]
* Schroeder, Franziska: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Bodily Instruments and Instrumental Bodies: Critical Views on the Relation of Body and Instrument in Technologically Informed Performance Environments]

EKK:LoFi Sounds in HiFi Spaces/Convergence

2013-05-06T18:22:44Z

RWelsh:

===Idea===

Separate sound streams from San Diego and Weimar: a collection of sounds or motifs that are being manipulated or improvised on (natural, mechanized... sounds) >> mixtures and or dialogue.

Movement within this (scenic?) installation is being tracked and controls the convergence / divergence of sounds creating new sonic structures (> convolution). Simutaenously controlling light, which guides through space, giving directions or hints on upcoming sonic events (rules and changes).

Light and sound play with expectations: creating tension in ambiguous virtual spaces between seeing and hearing, rather than visualizing / sonifying each other. Rules of dramatization / interaction change in time, shaped by the visitors actions.

Possible other elements: temperature (> light colors), corporeal hearing, scent (e.g. eucalyptus).

===Experiential Description===

Upon entering the room, a quiet din can be heard. These sounds are almost undefinable, owing to the nature of their material, their quiet volume and density. Four squares of light can be seen on the ground, in four colors. A participant who passes through one of the shafts of light triggers the play back of a sound, (either natural or mechanical, originating from Weimar or San Diego). The participant's trajectory is then followed, affecting the queued sample. The direction and speed of their motion toward another square of light determines the amount of convolusion, and which sample is selected as the multiplier. The original square of light begins to change color in reflection of the convolusion applied to "its" attributed sample. As the participant moves around the room, the samples, represented by the squares of light and color, are convolved with the previously triggered sound. The squares of light reflect the sonic mixing of characteristics through the alteration of their color and perhaps their lighting level. If a participant stops moving altogether or leaves, the sonic environment slowly returns to the neutral din of sound.

It is unclear at this moment how multiple participants can be accommodated, both experientially and to prevent an explosion of material and processing.

It is also unclear is speed should be the controller for the amount of convolusion, or if it should be a strict locational measure. If the project is pursued as an installation, I think a more specific, location-based convolusion would better instigate participation. However, if performative, speed would be a more interesting paramater to use, as it would be more subtle and naturally controlled through dance and movement.

Perhaps the din at the outset could be a quadraphonic layer of the two kinds of sounds, with mechanical sound layer coming from below and a natural sound layer hovering above. The triggered sounds could seem to float between the two, or perhaps the triggered sound could emerge from the respective layer, subtracting the indicated sound from the texture. Once all four zones have been triggered, the din would be completely absorbed by the "triggered" sounds. As stasis returns, the sounds float back to their respective layer, or perhaps the sounds would return to the wrong layer, ending the piece with Weimar sounds together and San Diego sounds together.

Additionally, we could play with different kinds of opposing sounds. One thought would be one of language - convolving english and german speech or perhaps speaking and singing - Or even pop songs or live feeds of spaces producing unique ambient sounds.

===Technical Requirements===

Kinect controller x2 to produce a 3D understanding of motion and speed
LED lighting units with color variance
surround sound set-up (quadrophonic?)

===Participants===

anybody feel welcome!

* [[../Alice/]]
* [[../Ryan Welsh/]]

===Links===

* Maryanne Amacher: [https://www.youtube.com/watch?v=_MahrtRVhkA Headrhythm & Plaything] > otoacoustic emissions.
* Jaroslaw Kapuscinski: [http://www.jaroslawkapuscinski.com/work.html works: seeing-hearing]
* Georg Klein: [https://vimeo.com/26581215# TRASA warszawa-berlin]
* Kaffe Matthews: [https://vimeo.com/26954210 Music for Bodies]
* Randy H. Yau, Scott Arford: [https://www.youtube.com/watch?v=EdfrRMXBRWM Infrasonics live in Paris]

===Literature===

* Caclin, Anne et al.: [http://link.springer.com/article/10.3758/BF03194730#page-1 Tactile "capture" of audition]
* Hope, Cat: [http://mass.nomad.net.au/wp-content/uploads/cade/CADEproceedings/CADE/CADE%20Papers.pdf/HOPE.pdf Silence As Stillness? Sonic Experiences in Art using Infrasonics]
* Ouzounian, Gascia: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Embodied Sound: Aural Architectures and the Body]
* Schroeder, Franziska: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Bodily Instruments and Instrumental Bodies: Critical Views on the Relation of Body and Instrument in Technologically Informed Performance Environments]

EKK:LoFi Sounds in HiFi Spaces/Convergence

2013-05-06T18:17:55Z

RWelsh:

===Idea===

Separate sound streams from San Diego and Weimar: a collection of sounds or motifs that are being manipulated or improvised on (natural, mechanized... sounds) >> mixtures and or dialogue.

Movement within this (scenic?) installation is being tracked and controls the convergence / divergence of sounds creating new sonic structures (> convolution). Simutaenously controlling light, which guides through space, giving directions or hints on upcoming sonic events (rules and changes).

Light and sound play with expectations: creating tension in ambiguous virtual spaces between seeing and hearing, rather than visualizing / sonifying each other. Rules of dramatization / interaction change in time, shaped by the visitors actions.

Possible other elements: temperature (> light colors), corporeal hearing, scent (e.g. eucalyptus).

===Experiential Description===

Upon entering the room, a quiet din can be heard. These sounds are almost undefinable, owing to the nature of their material, their quiet volume and density. Four squares of light can be seen on the ground, in four colors. A participant who passes through one of the shafts of light triggers the play back of a sound, (either natural or mechanical, originating from Weimar or San Diego). The participant's trajectory is then followed, affecting the queued sample. The direction and speed of their motion toward another square of light determines the amount of convolusion, and which sample is selected as the multiplier. The original square of light begins to change color in reflection of the convolusion applied to "its" attributed sample. As the participant moves around the room, the samples, represented by the squares of light and color, are convolved with the previously triggered sound. The squares of light reflect the sonic mixing of characteristics through the alteration of their color and perhaps their lighting level. If a participant stops moving altogether or leaves, the sonic environment slowly returns to the neutral din of sound.

It is unclear at this moment how multiple participants can be accommodated, both experientially and to prevent an explosion of material and processing.

It is also unclear is speed should be the controller for the amount of convolusion, or if it should be a strict locational measure. If the project is pursued as an installation, I think a more specific, location-based convolusion would better instigate participation. However, if performative, speed would be a more interesting paramater to use, as it would be more subtle and naturally controlled through dance and movement.

Perhaps the din at the outset could be a quadraphonic layer of the two kinds of sounds, with mechanical sound layer coming from below and a natural sound layer hovering above. The triggered sounds could seem to float between the two, or perhaps the triggered sound could emerge from the respective layer, subtracting the indicated sound from the texture. Once all four zones have been triggered, the din would be completely absorbed by the "triggered" sounds. As stasis returns, the sounds float back to their respective layer, or perhaps the sounds would return to the wrong layer, ending the piece with Weimar sounds together and San Diego sounds together.

Additionally, we could play with different kinds of opposing sounds. One thought would be one of language - convolving english and german speech or perhaps speaking and singing - Or even pop songs or live feeds of spaces producing unique ambient sounds.

===Participants===

anybody feel welcome!

* [[../Alice/]]
* [[../Ryan Welsh/]]

===Links===

* Maryanne Amacher: [https://www.youtube.com/watch?v=_MahrtRVhkA Headrhythm & Plaything] > otoacoustic emissions.
* Jaroslaw Kapuscinski: [http://www.jaroslawkapuscinski.com/work.html works: seeing-hearing]
* Georg Klein: [https://vimeo.com/26581215# TRASA warszawa-berlin]
* Kaffe Matthews: [https://vimeo.com/26954210 Music for Bodies]
* Randy H. Yau, Scott Arford: [https://www.youtube.com/watch?v=EdfrRMXBRWM Infrasonics live in Paris]

===Literature===

* Caclin, Anne et al.: [http://link.springer.com/article/10.3758/BF03194730#page-1 Tactile "capture" of audition]
* Hope, Cat: [http://mass.nomad.net.au/wp-content/uploads/cade/CADEproceedings/CADE/CADE%20Papers.pdf/HOPE.pdf Silence As Stillness? Sonic Experiences in Art using Infrasonics]
* Ouzounian, Gascia: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Embodied Sound: Aural Architectures and the Body]
* Schroeder, Franziska: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Bodily Instruments and Instrumental Bodies: Critical Views on the Relation of Body and Instrument in Technologically Informed Performance Environments]

EKK:LoFi Sounds in HiFi Spaces/Convergence

2013-05-06T17:26:38Z

RWelsh:

===Idea===

Separate sound streams from San Diego and Weimar: a collection of sounds or motifs that are being manipulated or improvised on (natural, mechanized... sounds) >> mixtures and or dialogue.

Movement within this (scenic?) installation is being tracked and controls the convergence / divergence of sounds creating new sonic structures (> convolution). Simutaenously controlling light, which guides through space, giving directions or hints on upcoming sonic events (rules and changes).

Light and sound play with expectations: creating tension in ambiguous virtual spaces between seeing and hearing, rather than visualizing / sonifying each other. Rules of dramatization / interaction change in time, shaped by the visitors actions.

Possible other elements: temperature (> light colors), corporeal hearing, scent (e.g. eucalyptus).

===Experiential Description===

Upon entering the room, a quiet din can be heard. These sounds are almost undefinable, owing to the nature of their material, their quiet volume and density. Four squares of light can be seen on the ground, in four colors. A participant who passes through one of the shafts of light triggers the play back of a sound, (either natural or mechanical, originating from Weimar or San Diego). The participant's trajectory is then followed, affecting the queued sample. The direction and speed of their motion toward another square of light determines the amount of convolusion, and which sample is selected as the multiplier. The original square of light begins to change color in reflection of the convolusion applied to "its" attributed sample. As the participant moves around the room, the samples, represented by the squares of light and color, are convolved with the previously triggered sound. The squares of light reflect the sonic mixing of characteristics through the alteration of their color and perhaps their lighting level. If a participant stops moving altogether or leaves, the sonic environment slowly returns to the neutral din of sound.

It is unclear at this moment how multiple participants can be accommodated, both experientially and to prevent an explosion of material and processing.

It is also unclear is speed should be the controller for the amount of convolusion, or if it should be a strict locational measure. If the project is pursued as an installation, I think a more specific, location-based convolusion would better instigate participation. However, if performative, speed would be a more interesting paramater to use, as it would be more subtle and naturally controlled through dance and movement.

Perhaps the din at the outset could be a quadraphonic layer of the two kinds of sounds, with mechanical sound layer coming from below and a natural sound layer hovering above. The triggered sounds could seem to float between the two, or perhaps the triggered sound could emerge from the respective layer, subtracting the indicated sound from the texture. Once all four zones have been triggered, the din would be completely absorbed by the "triggered" sounds. As stasis returns, the sounds float back to their respective layer, or perhaps the sounds would return to the wrong layer, ending the piece with Weimar sounds together and San Diego sounds together.

===Participants===

anybody feel welcome!

* [[../Alice/]]
* [[../Ryan Welsh/]]

===Links===

* Maryanne Amacher: [https://www.youtube.com/watch?v=_MahrtRVhkA Headrhythm & Plaything] > otoacoustic emissions.
* Jaroslaw Kapuscinski: [http://www.jaroslawkapuscinski.com/work.html works: seeing-hearing]
* Georg Klein: [https://vimeo.com/26581215# TRASA warszawa-berlin]
* Kaffe Matthews: [https://vimeo.com/26954210 Music for Bodies]
* Randy H. Yau, Scott Arford: [https://www.youtube.com/watch?v=EdfrRMXBRWM Infrasonics live in Paris]

===Literature===

* Caclin, Anne et al.: [http://link.springer.com/article/10.3758/BF03194730#page-1 Tactile "capture" of audition]
* Hope, Cat: [http://mass.nomad.net.au/wp-content/uploads/cade/CADEproceedings/CADE/CADE%20Papers.pdf/HOPE.pdf Silence As Stillness? Sonic Experiences in Art using Infrasonics]
* Ouzounian, Gascia: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Embodied Sound: Aural Architectures and the Body]
* Schroeder, Franziska: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Bodily Instruments and Instrumental Bodies: Critical Views on the Relation of Body and Instrument in Technologically Informed Performance Environments]

EKK:LoFi Sounds in HiFi Spaces/Convergence

2013-05-06T17:22:27Z

RWelsh:

===Idea===

Separate sound streams from San Diego and Weimar: a collection of sounds or motifs that are being manipulated or improvised on (natural, mechanized... sounds) >> mixtures and or dialogue.

Movement within this (scenic?) installation is being tracked and controls the convergence / divergence of sounds creating new sonic structures (> convolution). Simutaenously controlling light, which guides through space, giving directions or hints on upcoming sonic events (rules and changes).

Light and sound play with expectations: creating tension in ambiguous virtual spaces between seeing and hearing, rather than visualizing / sonifying each other. Rules of dramatization / interaction change in time, shaped by the visitors actions.

Possible other elements: temperature (> light colors), corporeal hearing, scent (e.g. eucalyptus).

===Experiential Description===

Upon entering the room, a quiet din can be heard. These sounds are almost undefinable, owing to the nature of their material, their quiet volume and density. Four squares of light can be seen on the ground, in four colors. A participant who passes through one of the shafts of light triggers the play back of a sound, (either natural or mechanical, originating from Weimar or San Diego). The participant's trajectory is then followed, affecting the queued sample. The direction and speed of their motion toward another square of light determines the amount of convolusion, and which sample is selected as the multiplier. The original square of light begins to change color in reflection of the convolusion applied to "its" attributed sample. As the participant moves around the room, the samples, represented by the squares of light and color, are convolved with the previously triggered sound. The squares of light reflect the sonic mixing of characteristics through the alteration of their color and perhaps their lighting level. If a participant stops moving altogether or leaves, the sonic environment slowly returns to the neutral din of sound.

It is unclear at this moment how multiple participants can be accommodated, both experientially and to prevent an explosion of material and processing.

It is also unclear is speed should be the controller for the amount of convolusion, or if it should be a strict locational measure. If the project is pursued as an installation, I think a more specific, location-based convolusion would better instigate participation. However, if performative, speed would be a more interesting paramater to use, as it would be more subtle and naturally controlled through dance and movement.

===Participants===

anybody feel welcome!

* [[../Alice/]]
* [[../Ryan Welsh/]]

===Links===

* Maryanne Amacher: [https://www.youtube.com/watch?v=_MahrtRVhkA Headrhythm & Plaything] > otoacoustic emissions.
* Jaroslaw Kapuscinski: [http://www.jaroslawkapuscinski.com/work.html works: seeing-hearing]
* Georg Klein: [https://vimeo.com/26581215# TRASA warszawa-berlin]
* Kaffe Matthews: [https://vimeo.com/26954210 Music for Bodies]
* Randy H. Yau, Scott Arford: [https://www.youtube.com/watch?v=EdfrRMXBRWM Infrasonics live in Paris]

===Literature===

* Caclin, Anne et al.: [http://link.springer.com/article/10.3758/BF03194730#page-1 Tactile "capture" of audition]
* Hope, Cat: [http://mass.nomad.net.au/wp-content/uploads/cade/CADEproceedings/CADE/CADE%20Papers.pdf/HOPE.pdf Silence As Stillness? Sonic Experiences in Art using Infrasonics]
* Ouzounian, Gascia: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Embodied Sound: Aural Architectures and the Body]
* Schroeder, Franziska: [http://www.tandfonline.com/doi/pdf/10.1080/07494460600647360 Bodily Instruments and Instrumental Bodies: Critical Views on the Relation of Body and Instrument in Technologically Informed Performance Environments]

EKK:LoFi Sounds in HiFi Spaces/Convergence

2013-05-06T05:34:22Z

RWelsh:

EKK:LoFi Sounds in HiFi Spaces/Ryan Welsh

2013-04-29T17:57:57Z

RWelsh: /* Project Idea */

[[File:Photo.jpg|thumb|Are you ever a tourist in your own city? This is me in the carillon at the Museum of Man.]]
I am a Ph.D. student in music composition at UCSD. I graduated from the Oberlin Conservatory of Music in 2008 and have been in San Diego ever since. I work frequently in the community teaching music and instrumental ensembles in the border city between Tijuana and San Diego.

==Interests==
I have few emergent interests at the moment - text, the ethereal, music for non-musicians/education.

The first is in the use of text in the creation of music. The influence of a text is used both in sung music and instrumental music for structure, sonic material and other associative influence. Often the text is unintelligible, but the meaning is still present in the result. 

<flashmp3 id="1">emergences.mp3</flashmp3> 

My second interest would be in environments or materials that are somehow vanishing, ungraspable or purely experiential. To this aim, I have been thinking about the intangibility of time, timbre and light. 

<flashmp3 id="2">SHORE GRASS MIX 1.mp3</flashmp3> 

Lastly, I have been interested in developing means of composing for non-musicians and beginning musicians, melding the transformative experience of performance with education. The following video is a construction of nursery rhymes that, as currently notated, could be presented to any level of reading performer, and a successful performance worked out. 

<videoflash type="youtube">8o4tVy2KjYU|500|280</videoflash> 

The lighting here is a bit heavy handed, but begins to show some of my particular interests. In addition, I am "staging" a performance of "9 Settings of Celan" by Harrison Birtwistle on April 16. I hope to have some video to post up here from that.

===My collaboration interest===
I have little computer programming experience and have tended to work in strictly acoustic settings. As such, I am interested in composing, improvising, experimenting with ways of interpreting performance to control lighting. This would be in strictly composed scenarios, as well as improvised settings, installations using ambient noise to control lighting, possible theatrical application and dramatic concert performance. The silence, ease and flexibility of the new LED light fixtures here at CalIT2 is remarkable.

==Project Idea==
I am working to recruit a few improvisers and performers to our class. This could be fun to create interactive and responsive settings to improvised music and then to develop a possible notated piece for instrument and lighting.

I am working with a cellist here, and we could use any amount of information from live performance or prerecorded information. We've used gyroscopes attached to the bow arm, or perhaps breath or other information. It could be nice to play with how the light illuminates the performer, how she can "perform the lighting" and interact with some prerecorded samples as well.

Another idea would involve sending some kind of "ambient" information from Germany to here to control our lighting experience. We could illuminate space, pieces of cloth, people's faces, shadows, sculptures, artworks, etc.

==Platforms==
In order of preference...
Pen and Paper (LoFi enough?)
Mac OSx
iOS 6
Sibelius
JackTrip
Pd
Max

EKK:LoFi Sounds in HiFi Spaces/Ryan Welsh

2013-04-29T17:57:47Z

RWelsh: /* My collaboration interest */

[[File:Photo.jpg|thumb|Are you ever a tourist in your own city? This is me in the carillon at the Museum of Man.]]
I am a Ph.D. student in music composition at UCSD. I graduated from the Oberlin Conservatory of Music in 2008 and have been in San Diego ever since. I work frequently in the community teaching music and instrumental ensembles in the border city between Tijuana and San Diego.

==Interests==
I have few emergent interests at the moment - text, the ethereal, music for non-musicians/education.

The first is in the use of text in the creation of music. The influence of a text is used both in sung music and instrumental music for structure, sonic material and other associative influence. Often the text is unintelligible, but the meaning is still present in the result. 

<flashmp3 id="1">emergences.mp3</flashmp3> 

My second interest would be in environments or materials that are somehow vanishing, ungraspable or purely experiential. To this aim, I have been thinking about the intangibility of time, timbre and light. 

<flashmp3 id="2">SHORE GRASS MIX 1.mp3</flashmp3> 

Lastly, I have been interested in developing means of composing for non-musicians and beginning musicians, melding the transformative experience of performance with education. The following video is a construction of nursery rhymes that, as currently notated, could be presented to any level of reading performer, and a successful performance worked out. 

<videoflash type="youtube">8o4tVy2KjYU|500|280</videoflash> 

The lighting here is a bit heavy handed, but begins to show some of my particular interests. In addition, I am "staging" a performance of "9 Settings of Celan" by Harrison Birtwistle on April 16. I hope to have some video to post up here from that.

===My collaboration interest===
I have little computer programming experience and have tended to work in strictly acoustic settings. As such, I am interested in composing, improvising, experimenting with ways of interpreting performance to control lighting. This would be in strictly composed scenarios, as well as improvised settings, installations using ambient noise to control lighting, possible theatrical application and dramatic concert performance. The silence, ease and flexibility of the new LED light fixtures here at CalIT2 is remarkable.

==Project Idea==
I am working to recruit a few improvisers and performers to our class. This could be fun to create interactive and responsive settings to improvised music and then to develop a possible notated piece for instrument and lighting.

==Platforms==
In order of preference...
Pen and Paper (LoFi enough?)
Mac OSx
iOS 6
Sibelius
JackTrip
Pd
Max

EKK:LoFi Sounds in HiFi Spaces/Ryan Welsh

2013-04-29T17:57:08Z

RWelsh:

[[File:Photo.jpg|thumb|Are you ever a tourist in your own city? This is me in the carillon at the Museum of Man.]]
I am a Ph.D. student in music composition at UCSD. I graduated from the Oberlin Conservatory of Music in 2008 and have been in San Diego ever since. I work frequently in the community teaching music and instrumental ensembles in the border city between Tijuana and San Diego.

==Interests==
I have few emergent interests at the moment - text, the ethereal, music for non-musicians/education.

The first is in the use of text in the creation of music. The influence of a text is used both in sung music and instrumental music for structure, sonic material and other associative influence. Often the text is unintelligible, but the meaning is still present in the result. 

<flashmp3 id="1">emergences.mp3</flashmp3> 

My second interest would be in environments or materials that are somehow vanishing, ungraspable or purely experiential. To this aim, I have been thinking about the intangibility of time, timbre and light. 

<flashmp3 id="2">SHORE GRASS MIX 1.mp3</flashmp3> 

Lastly, I have been interested in developing means of composing for non-musicians and beginning musicians, melding the transformative experience of performance with education. The following video is a construction of nursery rhymes that, as currently notated, could be presented to any level of reading performer, and a successful performance worked out. 

<videoflash type="youtube">8o4tVy2KjYU|500|280</videoflash> 

The lighting here is a bit heavy handed, but begins to show some of my particular interests. In addition, I am "staging" a performance of "9 Settings of Celan" by Harrison Birtwistle on April 16. I hope to have some video to post up here from that.

===My collaboration interest===
I have little computer programming experience and have tended to work in strictly acoustic settings. As such, I am interested in composing, improvising, experimenting with ways of interpreting performance to control lighting. This would be in strictly composed scenarios, as well as improvised settings, installations using ambient noise to control lighting, possible theatrical application and dramatic concert performance. The silence, ease and flexibility of the new LED light fixtures here at CalIT2 is remarkable.

I am working with a cellist here, and we could use any amount of information from live performance or prerecorded information. We've used gyroscopes attached to the bow arm, or perhaps breath or other information. It could be nice to play with how the light illuminates the performer, how she can "perform the lighting" and interact with some prerecorded samples as well.

Another idea would involve sending some kind of "ambient" information from Germany to here to control our lighting experience. We could illuminate space, pieces of cloth, people's faces, shadows, sculptures, artworks, etc.

==Project Idea==
I am working to recruit a few improvisers and performers to our class. This could be fun to create interactive and responsive settings to improvised music and then to develop a possible notated piece for instrument and lighting.

==Platforms==
In order of preference...
Pen and Paper (LoFi enough?)
Mac OSx
iOS 6
Sibelius
JackTrip
Pd
Max

File:Emergences.mp3

2013-04-06T05:04:47Z

RWelsh:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|cc-by-sa-3.0}}
== Source: ==

EKK:LoFi Sounds in HiFi Spaces/Ryan Welsh

2013-04-06T05:03:31Z

RWelsh:

[[File:Photo.jpg|thumb|Are you ever a tourist in your own city? This is me in the carillon at the Museum of Man.]]
I am a Ph.D. student in music composition at UCSD. I graduated from the Oberlin Conservatory of Music in 2008 and have been in San Diego ever since. I work frequently in the community teaching music and instrumental ensembles in the border city between Tijuana and San Diego.

==Interests==
I have few emergent interests at the moment - text, the ethereal, music for non-musicians/education.

The first is in the use of text in the creation of music. The influence of a text is used both in sung music and instrumental music for structure, sonic material and other associative influence. Often the text is unintelligible, but the meaning is still present in the result. 

<flashmp3 id="1">emergences.mp3</flashmp3> 

My second interest would be in environments or materials that are somehow vanishing, ungraspable or purely experiential. To this aim, I have been thinking about the intangibility of time, timbre and light. 

<flashmp3 id="2">SHORE GRASS MIX 1.mp3</flashmp3> 

Lastly, I have been interested in developing means of composing for non-musicians and beginning musicians, melding the transformative experience of performance with education. The following video is a construction of nursery rhymes that, as currently notated, could be presented to any level of reading performer, and a successful performance worked out. 

<videoflash type="youtube">8o4tVy2KjYU|500|280</videoflash> 

The lighting here is a bit heavy handed, but begins to show some of my particular interests. In addition, I am "staging" a performance of "9 Settings of Celan" by Harrison Birtwistle on April 16. I hope to have some video to post up here from that.

===My collaboration interest===
I have little computer programming experience and have tended to work in strictly acoustic settings. As such, I am interested in composing, improvising, experimenting with ways of interpreting performance to control lighting. This would be in strictly composed scenarios, as well as improvised settings, installations using ambient noise to control lighting, possible theatrical application and dramatic concert performance. The silence, ease and flexibility of the new LED light fixtures here at CalIT2 is remarkable.

==Project Idea==
I am working to recruit a few improvisers and performers to our class. This could be fun to create interactive and responsive settings to improvised music and then to develop a possible notated piece for instrument and lighting.

==Platforms==
In order of preference...
Pen and Paper (LoFi enough?)
Mac OSx
iOS 6
Sibelius
JackTrip
PD
Max

File:Shore Grass Mix 1.mp3

2013-04-06T05:00:44Z

RWelsh:

== Summary ==

== Copyright status: ==

== Licensing ==
{{self|cc-by-sa-3.0}}
== Source: ==

EKK:LoFi Sounds in HiFi Spaces/Ryan Welsh

2013-04-06T04:48:54Z

RWelsh:

[[File:Photo.jpg|thumb|Are you ever a tourist in your own city? This is me in the carillon at the Museum of Man.]]
I am a Ph.D. student in music composition at UCSD. I graduated from the Oberlin Conservatory of Music in 2008 and have been in San Diego ever since. I work frequently in the community teaching music and instrumental ensembles in the border city between Tijuana and San Diego.

==Interests==
I have few emergent interests at the moment - text, the ethereal, music for non-musicians/education.

The first is in the use of text in the creation of music. The influence of a text is used both in sung music and instrumental music for structure, sonic material and other associative influence. Often the text is unintelligible, but the meaning is still present in the result. 

<flashmp3 id="1">emergences.mp3</flashmp3> 

My second interest would be in environments or materials that are somehow vanishing, ungraspable or purely experiential. To this aim, I have been thinking about the intangibility of time, timbre and light. 

<flashmp3 id="2">Shore Grass.mp3</flashmp3> 

Lastly, I have been interested in developing means of composing for non-musicians and beginning musicians, melding the transformative experience of performance with education. The following video is a construction of nursery rhymes that, as currently notated, could be presented to any level of reading performer, and a successful performance worked out. 

<videoflash type="youtube">8o4tVy2KjYU|500|280</videoflash> 

The lighting here is a bit heavy handed, but begins to show some of my particular interests. In addition, I am "staging" a performance of "9 Settings of Celan" by Harrison Birtwistle on April 16. I hope to have some video to post up here from that.

===My collaboration interest===
I have little computer programming experience and have tended to work in strictly acoustic settings. As such, I am interested in composing, improvising, experimenting with ways of interpreting performance to control lighting. This would be in strictly composed scenarios, as well as improvised settings, installations using ambient noise to control lighting, possible theatrical application and dramatic concert performance. The silence, ease and flexibility of the new LED light fixtures here at CalIT2 is remarkable.

==Project Idea==
I am working to recruit a few improvisers and performers to our class. This could be fun to create interactive and responsive settings to improvised music and then to develop a possible notated piece for instrument and lighting.

==Platforms==
In order of preference...
Pen and Paper (LoFi enough?)
Mac OSx
iOS 6
Sibelius
JackTrip
PD
Max

EKK:LoFi Sounds in HiFi Spaces/Ryan Welsh

2013-04-06T04:39:11Z

RWelsh:

[[File:Photo.jpg|thumb|Are you ever a tourist in your own city? This is me in the carillon at the Museum of Man.]]
I am a Ph.D. student in music composition at UCSD. I graduated from the Oberlin Conservatory of Music in 2008 and have been in San Diego ever since. I work frequently in the community teaching music and instrumental ensembles in the border city between Tijuana and San Diego.

==Interests==
I have few emergent interests at the moment - text, the ethereal, music for non-musicians/education.

The first is in the use of text in the creation of music. The influence of a text is used both in sung music and instrumental music for structure, sonic material and other associative influence. Often the text is unintelligible, but the meaning is still present in the result.

<flashmp3 id="1">emergences.mp3</flashmp3>

My second interest would be in environments or materials that are somehow vanishing, ungraspable or purely experiential. To this aim, I have been thinking about the intangibility of time, timbre and light.

<flashmp3 id="2">Shore Grass.mp3</flashmp3>

Lastly, I have been interested in developing means of composing for non-musicians and beginning musicians, melding the transformative experience of performance with education. The following video is a construction of nursery rhymes that, as currently notated, could be presented to any level of reading performer, and a successful performance worked out.

<videoflash type="youtube">8o4tVy2KjYU|500|280</videoflash>

The lighting here is a bit heavy handed, but begins to show some of my particular interests. In addition, I am "staging" a performance of "9 Settings of Celan" by Harrison Birtwistle on April 16. I hope to have some video to post up here from that.

===My collaboration interest===
I have little computer programming experience and have tended to work in strictly acoustic settings. As such, I am interested in composing, improvising, experimenting with ways of interpreting performance to control lighting. This would be in strictly composed scenarios, as well as improvised settings, installations using ambient noise to control lighting, possible theatrical application and dramatic concert performance. The silence, ease and flexibility of the new LED light fixtures here at CalIT2 is remarkable.

==Project Idea==
I am working to recruit a few improvisers and performers to our class. This could be fun to create interactive and responsive settings to improvised music and then to develop a possible notated piece for instrument and lighting.

==Platforms==
In order of preference...
Pen and Paper (LoFi enough?)
Mac OSx
iOS 6
Sibelius
JackTrip
PD
Max

EKK:LoFi Sounds in HiFi Spaces/Ryan Welsh

2013-04-06T04:37:25Z

RWelsh:

[[File:Photo.jpg|thumb|Are you ever a tourist in your own city? This is me in the carillon at the Museum of Man.]]
I am a Ph.D. student in music composition at UCSD. I graduated from the Oberlin Conservatory of Music in 2008 and have been in San Diego ever since. I work frequently in the community teaching music and instrumental ensembles in the border city between Tijuana and San Diego.

==Interests==
I have few emergent interests at the moment - text, the ethereal, music for non-musicians/education.

The first is in the use of text in the creation of music. The influence of a text is used both in sung music and instrumental music for structure, sonic material and other associative influence. Often the text is unintelligible, but the meaning is still present in the result.

<flashmp3 id="1">emergences.mp3</flashmp3>

My second interest would be in environments or materials that are somehow vanishing, ungraspable or purely experiential. To this aim, I have been thinking about the intangibility of time, timbre and light.

<flashmp3 id="2">Shore Grass.mp3</flashmp3>

Lastly, I have been interested in developing means of composing for non-musicians and beginning musicians, melding the transformative experience of performance with education. The following video is a construction of nursery rhymes that, as currently notated, could be presented to any level of reading performer, and a successful performance worked out.

<videoflash type="youtube">8o4tVy2KjYU|500|280</videoflash>

The lighting here is a bit heavy handed, but begins to show some of my particular interests. In addition, I am "staging" a performance of "9 Settings of Celan" by Harrison Birtwistle on April 16. I hope to have some video to post up here from that.

===My collaboration interest===
I have little computer programming experience and have tended to work in strictly acoustic settings. As such, I am interested in composing, improvising, experimenting with ways of interpreting performance to control lighting. This would be in strictly composed scenarios, as well as improvised settings, installations using ambient noise to control lighting, possible theatrical application and dramatic concert performance. The silence, ease and flexibility of the new LED light fixtures here at CalIT2 is remarkable.

==Project Idea==
I am working to recruit a few improvisers and performers to our class. This could be fun to create interactive and responsive settings to improvised music and then to develop a possible notated piece for instrument and lighting.

==Platforms==
In order of preference...
Pen and Paper (LoFi enough?)
Mac OSx
iOS 6
Sibelius
JackTrip
PD
Max

File:Photo.jpg

2013-04-06T03:57:07Z

RWelsh: A recent casual photo in San Diego.

== Summary ==
A recent casual photo in San Diego.
== Copyright status: ==

== Licensing ==
{{self|c}}
== Source: ==

EKK:LoFi Sounds in HiFi Spaces/Ryan Welsh

2013-04-06T03:55:49Z

RWelsh:

[[File:Photo.jpg|thumb|Are you ever a tourist in your own city? This is me in the carillon at the Museum of Man.]]
I am a Ph.D. student in music composition at UCSD. I graduated from the Oberlin Conservatory of Music in 2008 and have been in San Diego ever since. I work frequently in the community teaching music and instrumental ensembles in the border city between Tijuana and San Diego.

==Interests==
I have few emergent interests at the moment - text, the ethereal, music for non-musicians/education.

The first is in the use of text in the creation of music. The influence of a text is used both in sung music and instrumental music for structure, sonic material and other associative influence. Often the text is unintelligible, but the meaning is still present in the result.

My second interest would be in environments or materials that are somehow vanishing, ungraspable or purely experiential. To this aim, I have been thinking about the intangibility of time, timbre and light.

Lastly, I have been interested in developing means of composing for non-musicians and beginning musicians, melding the transformative experience of performance with education. The following video is a construction of nursery rhymes that, as currently notated, could be presented to any level of reading performer, and a successful performance worked out.

<videoflash type="youtube">8o4tVy2KjYU|500|280</videoflash>

The lighting here is a bit heavy handed, but begins to show some of my particular interests. In addition, I am "staging" a performance of "9 Settings of Celan" by Harrison Birtwistle on April 16. I hope to have some video to post up here from that.

===My collaboration interest===
I have little computer programming experience and have tended to work in strictly acoustic settings. As such, I am interested in composing, improvising, experimenting with ways of interpreting performance to control lighting. This would be in strictly composed scenarios, as well as improvised settings, installations using ambient noise to control lighting, possible theatrical application and dramatic concert performance. The silence, ease and flexibility of the new LED light fixtures here at CalIT2 is remarkable.

==Project Idea==
I am working to recruit a few improvisers and performers to our class. This could be fun to create interactive and responsive settings to improvised music and then to develop a possible notated piece for instrument and lighting.

==Platforms==
In order of preference...
Pen and Paper (LoFi enough?)
Mac OSx
iOS 6
Sibelius
JackTrip
PD
Max

EKK:LoFi Sounds in HiFi Spaces/Ryan Welsh

2013-04-06T02:50:38Z

RWelsh: Created page with "Are you ever a tourist in your own city? This is me in the carillon at the Museum of Man. I am a Ph.D. student in music composition at UCSD. I graduate..."

[[File:Photo.jpg|thumb|Are you ever a tourist in your own city? This is me in the carillon at the Museum of Man.]]
I am a Ph.D. student in music composition at UCSD. I graduated from the Oberlin Conservatory of Music in 2008 and have been in San Diego ever since. I work frequently in the community teaching music and instrumental ensembles in the border city between Tijuana and San Diego.

==Interests==
I have few emergent interests at the moment - text, the ethereal, music for non-musicians/education.

The first is in the use of text in the creation of music. The influence of a text is used both in sung music and instrumental music for structure, sonic material and other associative influence. Often the text is unintelligible, but the meaning is still present in the result.

My second interest would be in environments or materials that are somehow vanishing, ungraspable or purely experiential. To this aim, I have been thinking about the intangibility of time, timbre and light.

Lastly, I have been interested in developing means of composing for non-musicians and beginning musicians, melding the transformative experience of performance with education. The following video is a construction of nursery rhymes that, as currently notated, could be presented to any level of reading performer, and a successful performance worked out.

<videoflash type="youtube">JUqfWbNeEGs|500|280</videoflash>

If you want to use video, audio or Flash, read about how to embed those in [[Help:Extensions]].

===My collaboration interest===
I have little computer programming experience and have tended to work in strictly acoustic settings. As such, I am interested in composing, improvising, experimenting with ways of interpreting performance to control lighting. This would be in strictly composed scenarios, as well as improvised settings, installations using ambient noise to control lighting, possible theatrical application and dramatic concert performance. The silence, ease and flexibility of the new LED light fixtures here at CalIT2 is remarkable.

==Project Idea==
I am working to recruit a few improvisers and performers to our class. This could be fun to create interactive and responsive settings to improvised music and then to develop a possible notated piece for instrument and lighting.

==Platforms==
In order of preference...
Pen and Paper (LoFi enough?)
Mac OSx
iOS 6
Sibelius
JackTrip
PD
Max

EKK:LoFi Sounds in HiFi Spaces

2013-04-01T18:47:06Z

RWelsh:

[[:Category:Projektmodul|Projektmodul]] 
''Lecturers:'' [[Robin Minard]], Miller Puckette, Katharina Rosenberger, Shahrokh Yadegari, [[Ludger Hennig]], [[Max Neupert]] 
''Credits:'' 18 [[ECTS]], 16 [[SWS]] 
''Date:'' Monday, 18:00 until 21:30 h (due to the time difference to San Diego) 
''Venue:'' [[Coudraystraße 13a]], SeaM Werkstattstudio 
''First meeting:'' 15.04.2013

==Description==
The sensation of space through spatialized sound may be influenced by sources that differ in their quality and quantity. Within this project, we will investigate ways to modify, expand or augment how space can be experienced through sound. The outcome may be, for instance, an electroacoustic composition, a simulation of spatial perception, sonic architecture or a set-design as a virtual or performative environment.

This project is the beginning of a long-term cooperation between the Bauhaus-Universität Weimar and the University of California in San Diego. Partners in Weimar are Prof. Robin Minard and Ludger Hennig from the Studio for Electroacoustic Music (SeaM) and Max Neupert (Medial Environments). Partners in San Diego are Prof. Miller Puckette (Computer Music), Prof. Katharina Rosenberger (Music) and Prof. Shahrokh Yadegari (Theatre and Dance). Telematic classes will allow students from both faculties to work together. Classes will take place in Weimar in the evening, mid-morning in San Diego. The cooperation is funded by the German Academic Exchange Service (DAAD).

===German description===
Die Wahrnehmung von Raum durch verräumlichten Klang, kann durch Klangquellen beeinflusst werden, welche sich in ihrer Qualität und Quantität unterscheiden. In diesem Projekt werden wir untersuchen, auf welche Art wir die Erfahrung von Raum durch den Klang verändern, erweitern oder verbessern können. Das Ergebnis kann beispielsweise eine elektroakustische Komposition, eine Simulation einer räumlichen Wahrnehmung, klangliche Architektur oder ein Bühnenbild als virtuelle oder performative Umgebung sein.

Dieses Projekt ist der Beginn einer langfristigen Zusammenarbeit zwischen der Bauhaus-Universität und der Universität von Kalifornien in San Diego. Partner aus Weimar sind Prof. Robin Minard und Ludger Hennig vom Studio für Elektoakustische Musik (SeaM) und Max Neupert (Gestaltung medialer Umgebungen). Partner aus San Diego sind Prof. Miller Puckette (Computermusik), Prof. Katharina Rosenberger (Musik) und Prof. Shahrokh Yadegari (Theater und Tanz). Gemeinsamer Unterricht mit einer Videoverbindung wird es den Studierenden beider Universitäten ermöglichen, zusammen zu arbeiten. Der Unterricht wird in Weimar am Abend und vormittags in San Diego stattfinden. Die Zusammenarbeit wird vom Deutschen Akademischen Austauschdienst (DAAD) gefördert.

==Topics==
* [[/Topic1/]]
* [[/Topic2/]]

==Admission requirements==
k.A.

==Registration procedure==
Please send your application by email with the Subject ''{{PAGENAME}}'' to: max.neupert (at) uni-weimar.de
* Name, Surname
* program and semester (Studienprogramm und Fachsemester)
* matriculation number (Matrikelnummer)
* Angabe der geltenden Prüfungsordnung
* Valid email address @uni-weimar.de (no other mailing addresses will be accepted) [[SCC-Services#E-Mail|Why?]]

Registration is not admission! We will conduct interviews. Details will be announced soon here.

==Evaluation==
Active participation, presentation, artistic examination, documentation, edits in the wiki.

==Eligible participants==
Undergraduates and graduates enrolled in the Faculties of Media, Gestaltung and in the MediaArchitecture program

==Participants==
===Weimar===
* [[/Max/]]
* [[/YourName/]] (Take a look at above example and add yourself here)
===San Diego===
* [[/Brendan Bernhard Gaffney/]]
* [[/Kevin/]]
* [[/Melanie/]]
* [[/Jeffery/]]
* [[/Bo/]]
* [[/Andy/]]
* [[/Jamilah/]]
* [[/Marcelo/]]
* [[/Ryan_Welsh/]]

==Syllabus==
ISO Standard: MONTH/DAY
# 04/01 Only in San Diego (Easter Monday is holiday in Germany; Robin, Ludger and Max join via Skype/Google+ Hangout) faculty presentations about technical means and/or artistic issues. Introduction to the wiki.
# 04/08 Only in San Diego – faculty resentations continued. Miller - Rasberry Pi as an audio and video platform. Shahrokh - Mugic protocol; video walls
# 04/15 First joint class
# 04/22 Robin, Ludger and Max are in San Diego
# 04/29
# 05/06
# 05/13
# 05/20
# 05/27 Only in Weimar (Memorial day in the U.S.)
# 06/03
# 06/10
# 06/17
# 06/24
# 07/01

==Literature==
* Föllmer, Golo: Netzmusik, Wolke Verlag ISBN 3936000336
* LaBelle, Brandon: Background Noise ISBN 9780826418456
* LaBelle, Brandon: Site of Sound: Or Architecture and the Ear ISBN 978-0982743904
* Minard, Robin: Silent Music ISBN 978-3933257130
* Minard, Robin: Sound Installation Art
* Leitner, Bernard: Sound:Space ISBN 978-3893224449

Pd books:
{{Template:PdBooks}}

==Links==
* [https://groups.google.com/forum/?&fromgroups#!forum/buw-ucsd Google Group BUW-UCSD]
* [https://puredata.info/docs/raspberry-pi Pure Data on the Raspberry Pi]

===Sending data over the network===
* [[OSC]]
* netsend, netreceive. In Pd look at mrpeach and iemnet libraries
* [http://ivl.calit2.net/wiki/index.php/StreamingGraphics Mugic]

===Sending Audio and Video over the Internet===
* [[wikipedia:Audio Video Bridging]] AVB is a set of standards for audio and video transmission by the IEEE

====Intended for Communcation====
* [http://www.skype.com Skype] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [https://tools.google.com/dlpage/hangoutplugin Google+ Hangout] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] (Seems to work best in Chome/Chromium)
* [http://www.oovoo.com ooVoo] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://www.voxox.com voxox] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [http://www.teamviewer.com teamviewer] [[File:Icon newtux 16x16.png]] [[File:Icon android 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]

Teleconferencing
* [http://www.polycom.com Polycom] [[File:Icon windows8 16x16.png]] System available in Weimar
* [http://www.radvision.com/Products/Video-Conference-Systems Radvision Scopia] [[File:Icon windows8 16x16.png]]
* [http://www.lifesize.com Livesize] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]] System available in San Diego

Unidirectional only (aka streaming)
* [http://giss.tv Global Independent Streaming Support], [http://giss.tv/wiki/index.php/Main_Page G.I.S.S wiki]
* [http://www.ustream.tv Ustream]
* [http://www.justin.tv justin.tv]

====Intended for Performance/Creative Use====
* [http://code.sat.qc.ca/redmine/projects/scenic/wiki/Scenic_fr Scenic] Audio and video in high quality, as well as MIDI [[File:Icon newtux 16x16.png]]
* [http://code.google.com/p/jacktrip JackTrip] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]]
* [http://gstreamer.freedesktop.org GStreamer] and bindings for Pd: [http://umlaeute.mur.at/Members/zmoelnig/projects/pdgst PdGst] [[File:Icon newtux 16x16.png]]
* netsend~ for Max/MSP and Pd: [http://www.nullmedium.de/dev/netsend~ Olaf Matthes' Original Version] [[File:Icon newtux 16x16.png]] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]], [http://www.olivierguillerminet.com/2008/12/netsend Olivier Guillerminet's/Remu's Fork] [[File:Icon apple 16x16.png]] [[File:Icon windows8 16x16.png]]
* [https://ccrma.stanford.edu/~danielsm/research.html Michelle Daniels] is working on something...

===Performing Remotely===
* [http://www.netpd.org NetPd]
* [http://at.or.at/serendipd SerendiPd] collaborative patching